The following terms are used in conjunction with this application and are provided herewith for definition.
Intonation Point—A string contact point located at an appropriate intonation harmonic.
Extra-harmonic—Tensioned string that is not directly employed between played intonation points.
Bridge—An intonation point that couples primary string vibration to the soundboard.
Soundboard—The portion of the instrument coupled to the bridge that acoustically amplifies primary string vibration.
Body—The structure of the instrument that is not the neck, and to which the string is anchored, opposite the neck.
Neck—The portion of the instrument that is not the body, around which the fretting hand of the musician is wrapped during play, and against which the musician presses the string (or above which for harmonics or slide) in order to sound a note.
Nut—An intonation point located on the neck, farthest from the bridge.
Tuner—A device with adjustable fixed tension required to bring and hold a slack string taut to a stable given tuned pitch.
Fine Tuner—A device with adjustable fixed tension that slightly modifies the stable given pitch of a taut tuned string.
Tremolo (or Vibrato)—A device to impart reciprocal or variable motion intended to waver pitch of a taut tuned string.
Problems with Controls
Conventional string pitch adjustment control surfaces, i.e., manually manipulated input controls, are undifferentiated string to string, causing errors during attempted tuning adjustments in low light or performance environments. Collectively mounted units are limited by string center-to-center measurements, requiring considerable dexterity to adjust without disturbing adjacent control surfaces.
Conventional tuning techniques require significant agility to tension a string to pitch. Two conventional tuning formats exist, differentiated by location:
a. Headstock mounted technologies require the musician to disengage the fretting hand from fingering notes in order to tune, or require the musician to reach awkwardly with the plucking, bowing or strumming hand across the musician's body to the tuning end of the neck.b. Conventional body mounted technologies are fixedly positioned such that string pitch adjustment control surfaces require the musician to reach awkwardly with the fretting hand, if that method of tuning is desired, or conform to the control surface location and orientation—relative to the string plane—with the plucking, bowing or strumming hand.Problems with String Forces
Conventional metal string anchoring mechanisms require use of ball end strings, i.e., attachment end strings, so that the strings may be tensioned to pitch. Use of these proprietary strings is expensive and restrictive for users. Conventional methods of attaching plain end metal strings employ a single clamping point, often combined with a dramatic string bend, both of which provide opportunities for string fatigue and catastrophic failure. Conventional acoustic instruments using gut or nylon strings, i.e., non-metal strings—which are more fragile, in comparison to metal strings—and require a system of knots or a capstan arrangement with string windings to anchor or tune provide opportunities for the string to fray or slip, causing breakage or detuning. Conventional string tensioning systems are mutually exclusive, regarding use of metal or non-metal strings.
Conventional string tensioning systems require the string to have dramatic bends—including tangential, lateral or coil—along its length. These dramatic bends, combined with repeated tensioning and de-tensioning due to tuning and tremolo or vibrato use, place excessive stress on the strings, often ending in catastrophic destruction of the string.
Conventional string tuning technologies require one or a combination of four mechanical principles, in order to gain mechanical advantage (leverage) over longitudinal string tension, and are categorized as simple machines:
a. Gears used in conventional technologies have significant problems, including manufacturing complexity and gear slip. Strings must be tuned flat then retuned to pitch in order to eliminate play and friction. Examples include: worm, planetary, spur, bevel, helical, etc. Gears, combined with shafts, additionally impart significant longitudinal, tangential, or lateral string displacement.b. Screws used in conventional technologies have significant problems including mechanical disadvantage, in comparison to other simple machines, due to friction and limited mechanical advantage determined by thread pitch. Considerable finger strength is required to perform pitch adjustments. Screws, used alone, additionally impart significant longitudinal, tangential, or lateral string displacement.c. Pulleys used in conventional technologies have significant problems, including manufacturing complexity and longitudinal string stretch. Strings must be positioned through at least one of a series of at least 180 degree curved surfaces comprised of an axle and shaft. The greater the length of extra-harmonic string, i.e., not directly employed between played intonation points, the greater the opportunity for undesired detuning.d. Levers used in conventional technologies have significant problems, including longitudinal, tangential, and lateral displacement of the string. As the lever extends, string displacement increases. Class 2 and Class 3 levers exhibit additional string deviation and mechanical instability, compared to Class 1 levers, because the load and fulcrum are not proximate, or because the force is remote from the fulcrum.
There are significant problems with conventional lever, i.e., lever arm, tuning technologies that include:
a. Use of a rotatable ring with a tangentially extended lever arm that requires a pre-tensioning device mounted integral to, or independent of, the lever arm. The pre-tensioning device adds additional weight, complexity, and extra-harmonic opportunity for undesired string slip, detuning or catastrophic failure.b. Use of a pulley or wheel rotatably mounted in a lever arm requires a pre-tensioning or tuning device mounted integral to, or independent of, the lever arm. The pre-tensioning or tuning device adds additional weight, complexity and extra-harmonic opportunity for undesired string slip, detuning or catastrophic failure. The rotatably mounted pulley or wheel introduces undesired mechanical noise, opportunity for wear, movement, potential lateral string deviation, and depriving string vibrational transfer, degrading tone.c. A rotating surface over which the string attached to a tuning lever is stretched and which moves with the string as the tension of the string is adjusted, combined with use of a tuning mechanism that requires a pre-tensioning tuning device, or additional tuning device, including a fine tuner, or any string anchor point that is not the rotating string contact surface, has extra-harmonic string length between the tuning or anchoring point and the string contact surface that is subject to stretch, stress, and therefore detuning.d. Also, a rotating surface over which the string attached to a tuning lever is stretched and which does not move with the string as the tension of the string is adjusted, combined with use of a tuning mechanism that requires a pre-tensioning tuning device, or additional tuning device, including a fine tuner, or any string anchor point that is not the rotating string contact surface, has extra-harmonic string length between the tuning or anchoring point and the string contact surface that is subject to stretch, stress, friction, and therefore detuning.
Conventional lever, i.e., lever arm, tuning technologies used as a tuning-bridge have significant problems that include:
a. A collective—i.e., a plurality mounted side-by-side on an axle perpendicular to the neck and each in a line—mounted lever arm assembly is incapable of longitudinal adjustment to compensate for individual string intonation inaccuracies. Accurate intonation varies from string to string, depending upon variables including string scale length, string gauge, and string material. Fixed position intonation points are necessarily a compromise solution due to variables including string choice, thermal expansion due to temperature and humidity change, instrument manufacture or adjustment, and lead to discordant and undesired pitch errors.b. A lever fixedly mounted to the supporting structure is by definition incapable of longitudinal adjustment to compensate for intonation inaccuracies.c. Collectively mounted levers and fixedly mounted levers are incapable of independent adjustment for string action, i.e., string height above the fingerboard, or for string position relative to the fingerboard and adjacent strings, i.e., string spacing. These adjustments are necessary for the comfort of the musician and the playability of the instrument.d. A rotatable ring or wheel or circular string contact intonation point surface, with equal radiuses, is not in itself variable in relation to the string contact point, without affecting intonation or string action. This invariability requires compensatory adjustments by components of the system that are not the rotatable ring, and therefore subject to additional complexity as well as inaccuracies, in relation to the intonation point.Problems with Tremolo
There are significant problems with conventional tremolo systems that include:
a. Fulcrum tremolo systems that include an intonation point detune during pitch change because the location of the string intonation point is independent of the fulcrum point. As the fulcrum pivots, the string contact point describes an arc, relative to the appropriate intonation harmonic. Because each string intonation point is necessarily different, the arcs described by multiple strings differ, causing relative string-to-string detuning. The string contact point arc also causes changes in string action, i.e., string height above the fingerboard, or string position relative to the fingerboard. Fulcrum tremolo systems that employ an intonation point independent of the fulcrum mechanism necessarily require extra-harmonic string length between the appropriate intonation point and fulcrum string contact point and are therefore subject to string stretch, and detuning. Detuning and string action changes are not controllable by the musician, stifling creative expression.b. Conventional cam tremolo systems that employ an independent intonation point, or bridge, that is not the surface of the cam, have extra-harmonic string length between the intonation point and the surface of the cam that is subject to stretch, and therefore detuning. Detuning and string stretch changes are not controllable by the musician, therefore stifling creative expression.c. Conventional lever, i.e., lever arm, tuning technologies used as a tuning-bridge and collectively mounted—e.g., a plurality mounted side-by-side on an axle perpendicular to the neck and each in a line—have necessarily predetermined string-to-string relative pitch change during tremolo or vibrato. Fixedly mounted levers are by definition not adjustable for string-to-string relative pitch change. String-to-string relative pitch changes not controllable by the musician stifle creative expression.d. Conventional tremolo technologies, including those that are not fulcrum or cam—which restrict musicians to mutually exclusive conditions, including: string-to-string accurate relative pitch change, or string-to-string inaccurate (detuning) relative pitch change—stifle creative expression.
Conventional tremolo technologies are further deficient in the application of spring technologies used to offset longitudinal string tension. Typically the musician applies manual force to the tremolo to deviate the tuned pitch. An arrangement of spring or springs is conventionally used to counteract the increasing input force of the musician, and the decreasing longitudinal force of the string or strings, when the tremolo is manipulated flat, the objective to return the instrument to correct tuned pitch, i.e., pitch neutral. As the tremolo is manipulated flat, the spring or springs elongate (uncoil) in an extension arrangement, or contract (coil) in a compression arrangement. As strings are manipulated beyond tuned pitch, i.e., sharp, string elongation occurs, increasing longitudinal force and causing the strings to seek return to pre-manipulation tension. Strings are designed to predictably stretch then return to previous length, the accuracy of that return a factor used to evaluate string quality. Elongation or compression of a spring and elongation of strings are both a linear progression of force, following Hooke's law of elasticity.
Significant Problems Include:
a. Conventional tremolo spring arrangements are linear force progression systems, examples include: use of one spring per string; use of one spring per group of strings; use of one spring in total; use of springs in force parallel; use of parallel mounting for equal load springs, etc., i.e., use of any arrangement of springs that results in linear force progression. Linear force progression systems in equilibrium are subject to harmonic oscillation. Harmonic oscillation causes pitch fluctuation. Input into a linear force progression system in equilibrium—including sounding a note—causes the pitch to waver, i.e., detune. Also, harmonic oscillation slows return to pitch neutral. Additionally, as oppositional forces cause the system to seek equilibrium, longitudinal string movement in relation to the intonation point decreases musical sustain.b. Conventional tremolo spring arrangements constrained parallel to the longitudinal string path have increased susceptibility to harmonic oscillation.c. Spring noise occurs in tremolo systems as springs elongate or compress. These non-musical noises are structurally transmitted and audible, or amplified. The greater the spring distortion, the greater the spring noise. Examples include: stressed spring mounts, deforming spring material, spring coil contact, etc.d. Conventional spring arrangements exclusively constrained within or without the longitudinal string path—including extension, compression or torsion springs, etc., and parallel, perpendicular or tangential spring mounting—subject the tremolo system to torsional distortion if the tremolo input device, i.e., lever (“whammy bar”), is asymmetrically located remote from the equilibrium point of the contradictory forces. Thus the act of input causes torsional distortion to the system, degrading performance and increasing wear.e. Conventional tremolo spring arrangements are attached to the main body of the tremolo unit, or to the base of the input device, i.e., lever (“whammy bar”). This location proximate the equilibrium point of the contradictory forces requires additional leverage, compared to location distant.f. Conventional location for tremolo input devices, i.e., lever (“whammy bar”), is above—in relation to the neck—the plane of the strings. This location interferes with the arc described by the hand of the musician during play.g. Conventional tremolo systems limited to linear force progression also limit kinesthetic experiences for the musician, thereby stifling creativity.Problems with Mounting & Soundboard
Conventional body mounted string pitch control technologies, e.g., tuner, tuning-bridge, bridge, tremolo or vibrato, use a front mounted placement. Strings contact the pitch control mechanism, and contact is maintained through string direction change (tangential, lateral), relative to the length of the string (longitudinal), or through neutral tension technologies. Three conventional pitch control mechanism formats exist, differentiated by string termination points: downward force, attachment point and neutral tension technologies:
a. Conventional downward force pitch control mechanisms use downward force (tangential, lateral)—against the front of the instrument—to couple the string or pitch control mechanism to the soundboard. Longitudinal string tension is redirected tangentially, or laterally. Examples include: violin, cello, archtop guitar, etc.b. Conventional attachment point pitch control mechanisms terminate strings on the soundboard, either as part of the pitch control mechanism, or independently located. Longitudinal string tension is applied directly to the soundboard, either longitudinally, tangentially, or laterally. Examples include: acoustic guitar, electric guitar & bass, etc.
There are significant problems with conventional technologies that include:
a. Both downward force and attachment point pitch control mechanisms restrict soundboard and string vibration due to string tension applied directly to the soundboard: the higher the pitch, for a given string, the greater the tension applied to the soundboard. The greater the tension, the greater the vibrational restriction, for both soundboard and string. Restricted string and soundboard vibration results in reduced musical sensitivity, sustain, and harmonic detail.b. In order to counteract string tension applied to the soundboard, various bracing schemes have been devised. Every form of soundboard bracing adds mass to the soundboard, slowing directional change, and restricting vibrational movement. Additional bracing requires additional material, maintenance and expense, as well as opportunities for joint fatigue or failure.c. Conventional technologies are particularly vulnerable to changes in string tension or environmental temperature and humidity. Because string pitch (tuning and intonation) is directly dependent upon string coupling to the soundboard, any alteration to the geometry or relationship between the string and soundboard interactively affects tuning, intonation, and the structural integrity of the instrument.
There is a need to provide a string pitch control system that does not require significant agility or strength for an individual to use.
There is a need to provide a technology to allow for an individual to self-determine and adjust the orientation of the string pitch control surfaces relative to the string plane.
There is a need to provide a pitch adjustment control surface to visually, and through tactile sensation, easily distinguish and differentiate between control surfaces associated with specific individual strings.
There is a need for pitch adjustment control surfaces technology that allows for individual or collective controls to be locked, i.e., fixed in position, once the string has been tuned.
There is a further need for pitch adjustment control surfaces technology that allows for surfaces to vary in size or shape or be detached from the instrument, once the string has been tuned.
There is a need to provide a string anchoring system that facilitates a variety of string end configurations, including plain end strings, as well as different string material types.
There is a need to provide a string anchoring mechanism that does not create the opportunity for catastrophic string failure at a single point.
There is a need to provide a string tensioning system that does not position the string in geometries that cause excessive stress on the string.
There is a need to provide a string tensioning system that does not require extra-harmonic string length.
There is a need to provide a string tuning technology that is simple to manufacture, offers significant mechanical advantage, is mechanically stable, and greatly reduces longitudinal, tangential, or lateral string displacement, in comparison to conventional technologies.
There is a need to provide a lever tuning mechanism that will allow the string to be simply anchored and accurately tuned, i.e., bringing and holding a slack string taut to a stable given pitch, without requiring pre-tensioning tuning devices, or additional tuning devices, including fine tuners.
There is a need to provide a lever tuning technology that will allow for use as an adjustable intonation point, or as a bridge, and that will facilitate simple adjustment for: string intonation, string height above the fingerboard, and string spacing.
There is a further need to provide a lever tuning technology that will allow for use as an adjustable intonation point, or as a bridge, and that greatly reduces—in comparison to conventional technologies—longitudinal, tangential, or lateral string displacement, in relation to an intonation point.
There is a need to provide a tremolo technology that does not require extra-harmonic string length.
There is a need to provide a tremolo technology that does not position the string in geometries that cause excessive stress on the string.
There is a need to provide a tremolo technology that dissociates, or greatly reduces—in comparison to conventional technologies—longitudinal, tangential, and lateral displacement of the string, when used independently of the intonation point.
There is a need to provide a tremolo technology that allows for use as an adjustable intonation point, or as a bridge, and yet dissociates, or greatly reduces—in comparison to conventional technologies—longitudinal, tangential, and lateral displacement of the string.
There is a further need to provide a tremolo technology that allows for use as an intonation point, or as a bridge, and that simply allows for bringing and holding a slack string taut to a stable given pitch, i.e., tuning, without requiring independent pre-tensioning tuning devices, or additional tuning devices, including fine tuners.
There is a further need to provide a tremolo technology that does not require an independent intonation point, or bridge, and that simply allows for bringing and holding a slack string taut to a stable given pitch, i.e., tuning, without requiring independent pre-tensioning tuning devices, or additional tuning devices, including fine tuners.
There is a further need to provide a tremolo technology that simply allows for bringing and holding a slack string taut to a stable given pitch, i.e., tuning, without requiring independent pre-tensioning tuning devices, or additional tuning devices, including fine tuners.
There is a need for a tremolo mechanism that greatly dampens or decreases harmonic oscillation—in comparison to conventional technologies—thus reducing uncontrolled pitch fluctuation or waver.
There is further a need for a tremolo mechanism that more rapidly—in comparison to conventional technologies—seeks equilibrium, thus reducing pitch fluctuation.
There is also a need for a tremolo mechanism that suppresses spring noise, and spring mount associated noise.
There is also a need for a tremolo mechanism less subject—in comparison to conventional technologies—to torsional distortion.
There is a further need for a tremolo mechanism that is not limited to linear force progression.
There is also a need for a tremolo input device that is less obtrusive—in comparison to conventional technologies—to the musician during play.
There is a need for a tremolo technology capable of providing musicians with controllable string-to-string relative pitch changes.
There is a need for a string pitch control mechanism to allow for greatly disassociated—in comparison to conventional technologies—longitudinal, tangential, and lateral string tension forces from the soundboard.
There is a further need for a string pitch control mechanism that allows the soundboard to be designed in such a manner as to remain independent of necessity to withstand longitudinal (including tangential and lateral) string tension.
There is also a need for a string pitch control mechanism to simply adjust the relationship between string and fingerboard, thus affecting playability (force required to fret a note at a given pitch) and intonation, without requiring interactive adjustments to the soundboard, soundboard bracing, or neck (fingerboard) angle in relation to the soundboard or pitch control mechanism.
There is a need for a string pitch control mechanism to facilitate soundboard designs that require less structural bracing.
There is a need for a string pitch control mechanism to facilitate soundboard designs that require less mass.